Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Iran and from Lille.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1965 to 1975.
I'm losing my edge.
To all the kids in Columbus and Mexico City.
I'm losing my edge to the art-school Shanghai kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the marimba sounds with much patience.
I was there when Lou Reed started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Trumans Water to the dance kids.
I played it at the Spitz.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Terry Callier. All the underground hits.
All Erykah Badu tracks. I heard you have a vinyl of every Con Funk Shun record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Eric B and Rakim record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Ossler,
Bobbi Humphrey,
Eli Mardock,
Tommy Roe,
Justin Hinds & The Dominoes,
The Velvet Underground,
Y Pants,
Boogie Down Productions,
Super Lover Cee & Casanova Rud,
Public Image Ltd.,
The Selecter,
D'Angelo,
Kaleidoscope,
The Black Dice,
Neil Young & Crazy Horse,
DeepChord presents Echospace,
Matthew Halsall,
Ituana,
Dave Gahan,
Zero Boys,
Bobby Sherman,
Alison Limerick,
Slick Rick,
Reuben Wilson,
Josef K,
Shoche,
David Bowie,
Kool G Rap & DJ Polo,
Rhythm & Sound,
Young Marble Giants,
Jeff Mills,
The Chocolate Watch Band,
Colin Newman,
Loose Ends,
Saccharine Trust,
Carl Craig,
The Busters,
Andrew Hill,
Tres Demented,
Jerry's Kids,
AZ,
Little Man,
James Chance & The Contortions,
Michelle Simonal,
Organ,
Joe Smooth,
Easy Going,
Supertramp,
Peter and Kerry,
Nik Kershaw,
Crime,
Toni Rubio,
John Holt,
Howard Jones,
Kerrie Biddell,
New Order,
Sandy B,
The Doobie Brothers,
DJ Style,
La Düsseldorf,
Maleditus Sound,
John Coltrane, John Coltrane, John Coltrane, John Coltrane.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.